Today, while we have a wide range of dynamics such as p, pp, mp, mf, f, ff, etc., in Bach's time, only p and f existed. We have often shaped melody lines according to the prevailing circumstances, but in concertos of this type, especially those with detailed f and p dynamic markings, we prioritize clearly differentiating dynamics between sections rather than shaping individual melody lines.

For example, in bar 1, the D on the third beat of the soprano line marks the end of a phrase and concludes with an octave descent, so one might instinctively not want to play it too loudly. However, if played p there, it could be confused with the p from the fourth beat, making the distinction between forte and piano ambiguous. Therefore, playing it clearly forte makes the dynamic contrast with the piano of the subsequent fourth beat evident.

In sections where forte and piano are not explicitly marked, long sequences often appear, allowing for freedom in dynamic interpretation.